Editing Jean-François Millet (section)

==Life and work==

===Youth===
[[File:Jean-François Millet - The Sheepfold, Moonlight - Google Art Project.jpg|thumb|''The Sheepfold''. In this painting by Millet, the waning Moon throws a mysterious light across the plain between the villages of Barbizon and Chailly.<ref>{{cite web |title=The Sheepfold, Moonlight |url=http://art.thewalters.org/detail/24760 |url-status=live |archive-url=https://web.archive.org/web/20210725002233/http://art.thewalters.org/detail/24760 |archive-date=25 July 2021 |access-date=1 August 2022 |publisher=[[The Walters Art Museum]]}}</ref> The Walters Art Museum.]]
Millet was the first child of Jean-Louis-Nicolas and Aimée-Henriette-Adélaïde Henry Millet, members of the farming community in the village of Gruchy, in [[Gréville-Hague]], Normandy, close to the coast.<ref name="Murphy, p.xix">Murphy, p.xix.</ref> Under the guidance of two village priests—one of them was vicar Jean Lebrisseux—Millet acquired a knowledge of Latin and modern authors. But soon he had to help his father with the farm work,<ref>[https://archive.org/details/jeanfranoismil00sens his biographer Alfred Sensier, p. 34]</ref> because Millet was the eldest of the sons. So all the farmer's work was familiar to him: to mow, make hay, bind the sheaves, thresh, winnow, spread manure, plow, sow, etc. All these motifs returned in his later art.

In 1833, his father sent him to [[Cherbourg]] to study with a portrait painter named Bon Du Mouchel.<ref name="GroveArtOnline"/> By 1835 he was studying with [[:fr:Théophile Langlois de Chèvreville|Théophile Langlois de Chèvreville]],<ref name="GroveArtOnline">McPherson, H. (2003). Millet, Jean-François. ''Grove Art Online''.</ref> a pupil of [[Baron Gros]], in [[Cherbourg-Octeville|Cherbourg]]. A stipend provided by Langlois and others enabled Millet to move to Paris in 1837, where he studied at the {{lang|fr|[[École des Beaux-Arts]]|italic=no}} with [[Paul Delaroche]].<ref name=HF>Honour, H. and J. Fleming, p. 669.</ref> In 1839, his scholarship was terminated, and his first submission to the [[Paris Salon|Salon]], ''Saint Anne Instructing the Virgin'', was rejected by the jury.<ref name="Pollock_21">Pollock, p. 21.</ref>

===Paris===
[[Image:Jean-François Millet (II) 005.jpg|thumb|''Woman Baking Bread'', 1854. [[Kröller-Müller Museum]], [[Otterlo]].]]

After his first painting, a portrait, was accepted at the Salon of 1840, Millet returned to Cherbourg to begin a career as a [[portrait painter]].<ref name="Pollock_21"/> The following year he married Pauline-Virginie Ono, and they moved to [[Paris]]. After rejections at the Salon of 1843 and Pauline's death by [[Tuberculosis|consumption]] in April 1844, Millet returned again to Cherbourg.<ref name="Pollock_21"/> In 1845, Millet moved to [[Le Havre]] with Catherine Lemaire, whom he married in a civil ceremony in 1853; they had nine children and remained together for the rest of Millet's life.<ref>Murphy, p.21.</ref> In Le Havre he painted portraits and small genre pieces for several months, before moving back to Paris.

It was in Paris in the middle 1840s that Millet befriended [[Constant Troyon]], [[Narcisse Diaz]], [[Charles Jacque]], and [[Théodore Rousseau]], artists who, like Millet, became associated with the Barbizon school; [[Honoré Daumier]], whose figure draftsmanship influenced Millet's subsequent rendering of peasant subjects; and [[:fr:Alfred Sensier]], a government bureaucrat who became a lifelong supporter and eventually the artist's biographer.<ref>Champa, p.183.</ref> In 1847, his first Salon success came with the exhibition of a painting ''Oedipus Taken down from the Tree'', and in 1848, his ''Winnower'' was bought by the government.<ref name="Pollock_22">Pollock, p. 22.</ref>

''The Captivity of the Jews in Babylon'', Millet's most ambitious work at the time, was unveiled at the Salon of 1848, but was scorned by art critics and the public alike. The painting eventually disappeared shortly thereafter, leading historians to believe that Millet destroyed it. In 1984, scientists at the [[Museum of Fine Arts, Boston|Museum of Fine Arts in Boston]] x-rayed Millet's 1870 painting ''The Young Shepherdess'' looking for minor changes, and discovered that it was painted over ''Captivity''. It is now believed that Millet reused the canvas when materials were in short supply during the [[Franco-Prussian War]].

===Barbizon===
In 1849, Millet painted ''Harvesters'', a commission for the state. In the Salon of that year, he exhibited ''Shepherdess Sitting at the Edge of the Forest'', a very small oil painting which marked a turning away from previous idealized pastoral subjects, in favor of a more realistic and personal approach.<ref>Murphy, p.23.</ref> In June of that year, he settled in [[Barbizon]] with Catherine and their children.

[[File:HarvestersRestingRuthBoazMillet.jpg|thumb|left|''Harvesters Resting (Ruth and Boaz)'', [[Museum of Fine Arts, Boston]] (1850–1853)]]
In 1850, Millet entered into an arrangement with Sensier, who provided the artist with materials and money in return for drawings and paintings, while Millet simultaneously was free to continue selling work to other buyers as well.<ref>Murphy, p. xix.</ref> At that year's Salon, he exhibited ''Haymakers'' and ''The Sower'', his first major masterpiece and the earliest of the iconic trio of paintings that included ''The Gleaners'' and ''The Angelus''.<ref>Murphy, p.31.</ref>

From 1850 to 1853, Millet worked on ''Harvesters Resting (Ruth and Boaz)'',<ref>{{cite web|url=http://www.mfa.org/collections/object/harvesters-resting-ruth-and-boaz-31288|title=Harvesters Resting (Ruth and Boaz)|date=29 January 2018}}</ref> a painting he considered his most important, and on which he worked the longest. Conceived to rival his heroes [[Michelangelo]] and [[Poussin]], it was also the painting that marked his transition from the depiction of symbolic imagery of peasant life to that of contemporary social conditions. It was the only painting he ever dated, and was the first work to garner him official recognition, a second-class medal at the 1853 salon.<ref>Murphy, p. 60</ref>

In the mid-1850s, Millet produced a small number of etchings of peasant subjects, such as ''Man with a Wheelbarrow'' (1855) and ''Woman Carding Wool'' (1855–1857).<ref>Pollock, p. 58.</ref>

====''The Gleaners''====
{{main|The Gleaners}}
[[Image:Jean-François Millet - Gleaners - Google Art Project 2.jpg|thumb|right|''[[The Gleaners]]'', 1857. [[Musée d'Orsay]], Paris.]]
This is one of the most well known of Millet's paintings, ''[[The Gleaners]]'' (1857). While Millet was walking the fields around Barbizon, one theme returned to his pencil and brush for seven years—[[gleaning]]—the centuries-old right of poor women and children to remove the bits of grain left in the fields following the harvest. He found the theme an eternal one, linked to stories from the Old Testament. In 1857, he submitted the painting ''The Gleaners'' to the Salon to an unenthusiastic, even hostile, public.

(Earlier versions include a vertical composition painted in 1854, an etching of 1855–56 which directly presaged the horizontal format of the painting now in the [[Musée d'Orsay]].<ref>Murphy, p. 103.</ref>)

A warm golden light suggests something sacred and eternal in this daily scene where the struggle to survive takes place. During his years of preparatory studies, Millet contemplated how best to convey the sense of repetition and fatigue in the peasants' daily lives. Lines traced over each woman's back lead to the ground and then back up in a repetitive motion identical to their unending, backbreaking labor. Along the horizon, the setting sun silhouettes the farm with its abundant stacks of grain, in contrast to the large shadowy figures in the foreground. The dark homespun dresses of the gleaners cut robust forms against the golden field, giving each woman a noble, monumental strength.

====''The Angelus''====
{{main|The Angelus (painting)}}
[[Image:JEAN-FRANÇOIS MILLET - El Ángelus (Museo de Orsay, 1857-1859. Óleo sobre lienzo, 55.5 x 66 cm).jpg|thumb|left|''The Angelus'', 1857–1859, [[Musée d'Orsay]], Paris.]]

The painting was commissioned by Thomas Gold Appleton, an American [[art collector]] based in [[Boston]], Massachusetts. Appleton previously studied with Millet's friend, the Barbizon painter [[Constant Troyon]]. It was completed during the summer of 1857. Millet added a steeple and changed the initial title of the work, ''Prayer for the Potato Crop'' to ''The Angelus'' when the purchaser failed to take possession of it in 1859. Displayed to the public for the first time in 1865, the painting changed hands several times, increasing only modestly in value, since some considered the artist's political sympathies suspect. Upon Millet's death a decade later, a bidding war between the US and France ensued, ending some years later with a price tag of 800,000 gold francs.

The disparity between the apparent value of the painting and the poor estate of Millet's surviving family was a major impetus in the invention of the {{lang|fr|[[droit de suite]]}}, intended to compensate artists or their heirs when works are resold.<ref>Stokes, p. 77.</ref>

===Later years===

[[File:Millet, Jean-François II - Hunting Birds at Night.jpg|thumb|''Hunting Birds at Night'', 1874, [[Philadelphia Museum of Art]].]]
[[File:Jean-François Millet, Calling Home the Cows, c. 1866, NGA 168820.jpg|thumb|left|''Calling Home the Cows'', c. 1866, [[National Gallery of Art]].]]

Despite mixed reviews of the paintings he exhibited at the Salon, Millet's reputation and success grew throughout the 1860s. At the beginning of the decade, he contracted to paint 25 works in return for a monthly stipend for the next three years and in 1865, another patron, Emile Gavet, began commissioning pastels for a collection that eventually included 90 works.<ref name="Murphy, p. xx">Murphy, p. xx.</ref> In 1867, the [[Exposition Universelle (1867)|Exposition Universelle]] hosted a major showing of his work, with the ''Gleaners'', ''Angelus'', and ''Potato Planters'' among the paintings exhibited. The following year, Frédéric Hartmann commissioned ''Four Seasons'' for 25,000 francs, and Millet was named [[Chevalier de la Légion d'Honneur]].<ref name="Murphy, p. xx"/>

In 1870, Millet was elected to the Salon jury. Later that year, he and his family fled the [[Franco-Prussian War]], moving to Cherbourg and Gréville, and did not return to Barbizon until late in 1871. His last years were marked by financial success and increased official recognition, but he was unable to fulfill government commissions due to failing health. On 3 January 1875, he married Catherine in a religious ceremony. Millet died on 20 January 1875.<ref name="Murphy, p. xx"/>